Norah Jones - The Hi-Res Album Collection (2002-2016) [Official Digital Downloads]

Vocalist and pianist Norah Jones developed a unique blend of jazz and traditional vocal pop, with hints of bluesy country and contemporary folk, due in large part to her unique upbringing. This Hi-Res collection includes all of Norah Jones' studio releases plus another one is collabotation with Billie Joe Armstrong.



Come Away with Me is the breakthrough, chart-topping debut from admired singer-songwriter, Norah Jones. The album is infused with elements of acoustic pop, jazz, folk and soul. The critically acclaimed album topped various “Album of the Year” charts and won eight GRAMMY® Awards including Record of the Year, Album of the Year, Song of the Year, Best Pop Vocal Album, Best Engineered Album, Non-Classical and Best Female Pop Vocal Performance. Included on the album are some of Norah’s biggest hits including “Come Away with Me” and “Don’t Know Why.” The album of immaculate progressions and evocative lyrics is a perfect representation of Jones’ alluring talents.

Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless "Nightingale." She also includes convincing readings of Hank Williams' "Cold Cold Heart," J.D. Loudermilk's "Turn Me On," and Hoagy Carmichael's "The Nearness of You." There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents.

Tracklist:

01 - Don't Know Why
02 - Seven Years
03 - Cold Cold Heart
04 - Feelin' the Same Way
05 - Come Away with Me
06 - Shoot the Moon
07 - Turn Me On
08 - Lonestar
09 - I've Got to See You Again
10 - Painter Song
11 - One Flight Down
12 - Nightingale
13 - The Long Day Is Over
14 - The Nearness of You

About the Remastering: Remastered at New York’s legendary Sterling Sound by Norah Jones’s longtime mastering engineer Greg Calbi, "Come Away with Me" was remastered from the original analog mix tapes in 192kHz/24 bit audio.

Feels Like Home is the sophomore follow-up to Norah Jones’ chart-topping, multi-Platinum, GRAMMY Award-winning debut, Come Away with Me. Producer Arif Mardin and Norah Jones followed the same formula producing a renowned counter-part to her breakthrough album. Feels Like Home features guest collaborators, Garth Hudson, Dolly Parton and Levon Helm. Led by the intimate hit single, “Sunrise” the album topped the Billboard charts. This effortless blend of jazz, soul and country music is supported by Jones’ enthralling vocals and inspired piano playing.

It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away With Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away With Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting – who knew? Feels Like Home could be seen as "Come Away With Me Again" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single "Sunrise," some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones' soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit "Don't Know Why," they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that's what's going to keep listeners coming back.

What's surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away With Me. To these ends, the infectious shuffle of "What Am I to You?" finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, "Toes" and "Carnival Town" – co-written by bassist Lee Alexander and Jones – are pure '70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellington's "Melancholia," retitled here "Don't Miss You at All" and featuring lyrics by Jones, and you've got an album so blessed with superb songwriting that Jones' vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production that's refreshing. No digital pitch correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, who've worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. It's a "beauty and the beast" style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album.

Tracklist:

01 - Sunrise
02 - What Am I to You?
03 - Those Sweet Words
04 - Carnival Town
05 - In the Morning
06 - Be Here to Love Me
07 - Creepin' In (feat. Dolly Parton)
08 - Toes
09 - Humble Me
10 - Above Ground
11 - The Long Way Home
12 - The Prettiest Thing
13 - Don't Miss You at All

About the Remastering: Remastered at New York’s legendary Sterling Sound by Norah Jones’s longtime mastering engineer Greg Calbi, "Feels Like Home" was remastered from the original analog mix tapes in 192kHz/24 bit audio.

Norah Jones’ third studio album, Not Too Late, is an understated masterpiece from one of music’s greatest singer/songwriters. The album follows the success of her first two albums, Come Away with Me and Feels Like Home, which combined have sold over 27 million copies worldwide. The album, which features only self-penned material, finds Jones branching out and developing her signature crooner sound. The album highlighted by her extraordinary artistic growth is eloquently sung and immaculately performed. The outing topped Billboard’s Top 200 and featured the hit single, “Thinking About You.” This transitional effort is easily one of her most compelling and personal albums to date.

Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A – it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits – but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively – part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights – but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place.

Tracklist:

01 - Wish I Could
02 - Sinkin' Soon
03 - The Sun Doesn't Like You
04 - Until the End
05 - Not My Friend
06 - Thinking About You
07 - Broken
08 - My Dear Country
09 - Wake Me Up
10 - Be My Somebody
11 - Little Room
12 - Rosie's Lullaby
13 - Not Too Late

About the Remastering: Remastered at New York’s legendary Sterling Sound by Norah Jones’s longtime mastering engineer Greg Calbi, "Not Too Late" was remastered from the original analog mix tapes in 192kHz/24 bit audio.

The Fall establishes Norah Jones as one of music’s greatest singer-songwriters. The cohesive offering is reminiscent of her smash debut Come Away with Me. Working with producer, Jacquire King (Modest Mouse & Kings of Leon), Jones’ sultry vocals and original compositions are striking. The album peaked at #1 on Billboard’s Top Rock Albums and #3 on the Billboard 200. Highlights on the album include “December,” “Young Blood” and “Chasing Pirates.” The album received wide accolades from Rolling Stone magazine, Spin Magazine, Q and Uncut.

With The Fall, Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer/songwriter. Jones began this shift on 2007's Not Too Late, an album that gently rejected her tendencies for lulling, tasteful crooning, but The Fall is a stronger, more cohesive work, maintaining an elegantly dreamy state that's faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones' choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; The Fall does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon O'Brien productions do. Instead, the focus is always on Jones' voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression – there's certainly a late-night N.Y.C. vibe to these songs – but it's easy to overstate the artiness of The Fall, especially when compared to Not Too Late, which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs.

Tracklist:

01 - Chasing Pirates
02 - Even Though
03 - Light As a Feather
04 - Young Blood
05 - I Wouldn't Need You
06 - Waiting
07 - It's Gonna Be
08 - You've Ruined Me
09 - Back to Manhattan
10 - Stuck
11 - December
12 - Tell Yer Mama
13 - Man of the Hour




Little Broken Hearts is the enthralling fifth studio recording from revered singer-songwriter and multi-GRAMMY Award winner, Norah Jones. Her latest collaboration with producer, Danger Mouse, is an expressive exploration of wounded emotions showcasing the artistic evolution of one of music’s most intriguing artists.

The sleek twelve track album that features Norah’s honeyed vocals includes the soulful tune, “After The Fall,” the hauntingly beautiful “Out On the Road,” and the buoyant hit single, “Happy Pills.” Ten years ago, Norah Jones made her breakthrough debut and since has become one of the best selling artists of all time. Little Broken Hearts is one of her most compelling releases to date.

Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites – the classicist meets the futurist – Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of Come Away with Me when she released the quietly adventurous Not Too Late way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of Little Broken Hearts, where he wrings out the pathos in her songs. The songs themselves hold little mystery – all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure – so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as "She's 22" and "Miriam," yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the album's poppier moments ("Happy Pills," "Say Goodbye"). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but it's been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath.

Tracklist:

01 - Good Morning
02 - Say Goodbye
03 - Little Broken Hearts
04 - She's 22
05 - Take It Back
06 - After The Fall
07 - 4 Broken Hearts
08 - Travelin' On
09 - Out On The Road
10 - Happy Pills
11 - Miriam
12 - All A Dream




"Foreverly" is an unforgettable collection inspired by Songs Our Daddy Taught Us, an album of traditional Americana songs reinterpreted, recorded and released by The Everly Brothers in 1958. The album captures the beauty of the Everly's stunning close harmonies to create a moving and powerful testament to these traditional ballads. The collaboration between Green Day front man and Grammy Award winning artist Billie Joe Armstrong and Grammy Award winning singer and songwriter Norah Jones began ten years ago when they both performed with Stevie Wonder and his band at the Grammys.

Entering a long line of artists who've drawn inspiration from the Everly Brothers, Billie Joe Armstrong and Norah Jones serve up a unique tribute with Foreverly. Unlike many others – including Will Oldham and Dawn McCarthy, who released a trippy Everlys covers album earlier in 2013 – the duo doesn't dig deep into the brothers' catalog but rather concentrates on a single LP, the 1958 Cadence classic Songs Our Daddy Taught Us. Just a year into their career, the Everlys took the unusual step of abandoning rock & roll for traditional folk and country tunes they learned from their guitarist father Ike. Songs Our Daddy Taught Us was one of rock's first roots albums – the Everlys returned to the concept and use "Roots" as a title a decade later – and it's a bit of an anomaly in their catalog, a spare, sweet showcase for their close harmonies where the brothers are backed by nothing more than their own guitars. Foreverly, an album that contains all 12 of the songs from Songs Our Daddy Taught Us but not precisely in the same sequence, may recall Jones' country cabaret act the Little Willies yet it's something of a departure for Green Day lead singer Armstrong, who has often shown a love for rock & roll's past (most notably on the '60s garage rock raver Foxboro Hot Tubs) but has never quite spent much time in the '50s, not even with the Stray Cat strut of "Hitchin' a Ride." Even though the songs here date from much earlier, Foreverly is grounded in that decade, with Armstrong and Jones not only patterning their two-part harmonies after the Everly Brothers but fleshing out the arrangements by incorporating other sounds from the '50s: "Long Time Gone" and "Silver Haired Daddy of Mine" swing to subdued Johnny Cash rhythms, "Oh So Many Years" gets a slight Sun rockabilly makeover, "Kentucky" recalls the swaying slow dance specialties of Patsy Cline. Such variations from the text emphasize that Armstrong and Jones aren't re-creating Songs Our Daddy Taught Us; they're singing its songs, paying respect without being overly faithful. Their approach is not dissimilar to that of Don and Phil in 1958; the brothers didn't scrupulously re-create the sound of the past, they sang the songs in a way that was true to them, which is precisely what Billie Joe and Norah do here. They're a good match. Jones' suppleness sands down Armstrong's ragged voice, he gives her grit while she lends him grace, and these qualities are evident throughout this lovely little gem of an album.

Tracklist:

01 - Roving Gambler
02 - Long Time Gone
03 - Lightning Express
04 - Silver Haired Daddy Of Mine
05 - Down In The Willow Garden
06 - Who's Gonna Shoe Your Pretty Little Feet?
07 - Oh So Many Years
08 - Barbara Allen
09 - Rockin' Alone (In An Old Rockin' Chair)
10 - I'm Here To Get My Baby Out Of Jail
11 - Kentucky
12 - Put My Little Shoes Away

Engineer: Chris Dugan.
Mastering: Greg Calbi.

Musicians:
Norah Jones - Vocals, Electric & Acoustic guitar, Pump organ, Piano
Billie Joe Armstrong - Vocals, Electric & Acoustic Guitar, Pump organ
Dan Rieser - Drums & Percussion
Tim Luntz - Bass
Charlie Burnham - Violin, Mandolin, Harmonica
Jonny Lam - Pedal steel guitar




One of music's most beautiful and critically acclaimed voices returns with a new studio album that finds her returning to her jazz roots. The album is a kindred spirit to the singer's breakout debut Come Away With Me and finds the 9-time Grammy-winner returning to the piano and her roots. The album features jazz luminaries including her Blue Note label mates saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.

Norah Jones took liberty with her blockbuster success to set out on a musical walkabout, spending a good portion of the decade following 2004's Not Too Late experimenting, either on her own albums or on a variety of collaborations. Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers. Such similarities are immediately apparent, but Day Breaks is much slyer than a mere revival. That term suggests a slight air of desperation, but Jones comes from a place of confidence on Day Breaks, happy to demonstrate everything she's learned over the years. Often, these tricks are deliberately sly: she'll pair her torchy original "And Then There Was You" with a woozy, bluesy cover of Neil Young's "Don't Be Denied" that winds up evoking Come Away with Me, then follow that up with the dense, nocturnal rhythms of "Day Breaks." She threads in versions of Horace Silver's "Peace" and Duke Ellington's "African Flower" while inviting saxophonist Wayne Shorter and organist Lonnie Smith in to play – moves that signal that there's a strong, elastic jazz undercurrent to Day Breaks that means this record breathes more than her debut. Such a sense of quiet adventure gives the record depth, but what gives it resonance are the exquisitely sculpted songs. Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship.

Tracklist:

01 - Burn
02 - Tragedy
03 - Flipside
04 - It's A Wonderful Time For Love
05 - And Then There Was You
06 - Don’t Be Denied
07 - Day Breaks
08 - Peace
09 - Once I Had A Laugh
10 - Sleeping Wild
11 - Carry On
12 - Fleurette Africaine (African Flower)


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